SCHEDULE OF EXHIBITIONS AND EVENTS - Norton ?· SCHEDULE OF EXHIBITIONS AND EVENTS. January, February,…

Download SCHEDULE OF EXHIBITIONS AND EVENTS - Norton ?· SCHEDULE OF EXHIBITIONS AND EVENTS. January, February,…

Post on 25-Jun-2018

212 views

Category:

Documents

0 download

Embed Size (px)

TRANSCRIPT

<ul><li><p>SCHEDULE OF EXHIBITIONS AND EVENTS January, February, March 2014 </p><p>Norton Simon Museum </p><p>411 West Colorado Blvd. </p><p>Pasadena, CA 91105-1825 </p><p>www.nortonsimon.org </p><p>(626) 449-6840 </p><p>Media Contact </p><p>Leslie Denk </p><p>Director of Public Affairs </p><p>Phone: (626) 844-6941; Fax: (626) 844-6944 </p><p>Email: ldenk@nortonsimon.org </p><p>In this Issue Page </p><p> EXHIBITIONS ................................................................................................................ 23 </p><p> EVENTS CALENDAR ................................................................................................. 412 Lectures ................................................................................................ 4 Film ......................................................................................................... 5 A Night in Focus ................................................................................. 5 Performance ........................................................................................ 6 Adult Drawing Class ..................................................................... 67 Adult Art-Making Workshop .............................................................7 Afternoon Salons .......................................................................... 78 Guided Tours ................................................................................. 89 Family Events ................................................................................. 911 Teen Arts Academy .......................................................................... 12 </p><p> GENERAL MUSEUM INFORMATION .......................................................................... 13 </p><p>NOTE: All information is subject to change. Please confirm before publishing. </p><p>http://www.nortonsimon.org/mailto:ldenk@nortonsimon.org</p></li><li><p>EXHIBITIONS </p><p>OPENING In the Land of Snow: Buddhist Art of the Himalayas March 28August 25, 2014 </p><p>In the Land of Snow is the Museums first large-scale exhibition of </p><p>Himalayan Buddhist art, bringing together exceptional Indian, Nepalese </p><p>and Tibetan Buddhist sculptures along with significant thangka (flat field) </p><p>paintings from throughout the Himalayan region. Almost all of the </p><p>Museums thangkas are on display for this special occasion. A highlight of </p><p>the exhibition is the display of a monumental thangka, measuring over 20 </p><p>feet in height, depicting the Buddha of the Future, Maitreya, flanked by the </p><p>Eighth Dalai Lama, Jamphel Gyatso, and his tutor, Yongtsin Yeshe </p><p>Gyaltsen. Painted on silk and presented on an elaborate embroidered </p><p>mounting, the thangka was commissioned by the Eighth Dalai Lama for the </p><p>benefit of his tutor and for the posterity of the Buddhist faith. This is only the second time that this extraordinary </p><p>painting has been on view at the Museum. </p><p>CLOSING Francisco de Goya y Lucientess Don Pedro, Duque de Osuna, on Loan from The Frick Collection, New York December 6, 2013March 3, 2014 </p><p>The Norton Simon Museum presents a special installation of the splendid </p><p>portrait of Don Pedro, Duque de Osuna, by Francisco de Goya y Lucientes </p><p>(17461828), on loan from The Frick Collection, New York. Painted </p><p>sometime in the 1790s, this large-scale painting elegantly portrays one of </p><p>Goyas most important clients, and its installation at the Simon marks the </p><p>first time the painting has been on loan to a west coast institution. The </p><p>portrait joins the three other Goya paintings and one drawing on view in </p><p>the Museums permanent collection galleries. And to mark the occasion, </p><p>the Museum also presents a companion exhibition, Unflinching Vision: </p><p>Goyas Rare Prints, which features exceptional examples from the Museums </p><p>substantive collection of Goya etchings and lithographs not regularly on view. </p><p>Norton Simon Museum 2 Winter 2014 </p></li><li><p>Unflinching Vision: Goyas Rare Prints December 6, 2013March 3, 2014 </p><p>In celebration of the rare loan of The Frick Collections Don Pedro, Duque de </p><p>Osuna by Francisco de Goya y Lucientes, the Norton Simon Museum </p><p>presents the exhibition Unflinching Vision: Goyas Rare Prints. While the </p><p>majority of the artists prints were published posthumously, this exhibition </p><p>presents a selection of works that Goya himself worked on during his </p><p>lifetime. More than 30 working proofs, trial proofs and published prints </p><p>made under his supervision are on view, as well as a small selection of </p><p>posthumous examples from his later numbered editions. Together, these </p><p>artworks demonstrate Goyas mastery of printmaking, and most </p><p>significantly, his care in meaningfully capturing the spirit of his time. </p><p>Beyond Brancusi: The Space of Sculpture April 26, 2013January 6, 2014 The Norton Simon Museum presents Beyond Brancusi: The Space of </p><p>Sculpture, an exhibition that examines how the great sculptors of the </p><p>20th century were influenced by Constantin Brancusi and his </p><p>groundbreaking use of space and material. Featuring 19 works from the </p><p>Museums renowned collection of post-war art, by sculptors as diverse as </p><p>Henry Moore, Isamu Noguchi, Barbara Hepworth, Donald Judd, Carl </p><p>Andre, John McCracken and Robert Irwin, the exhibition demonstrates </p><p>how sculpture moved from being a self-contained, three-dimensional object </p><p>to one that engages with its surrounding space. In a variety of ways and in a </p><p>variety of materials, including marble, wood, stainless steel, felt or </p><p>Plexiglas, the sculptures on view illustrate some of the most innovative </p><p>moments in art making in the latter half of the 20th century. </p><p> Image credits: Buddha and Adorants on the Cosmic Mountain, India: Kashmir, c. 700, Bronze with silver and copper inlay, The Norton Simon Foundation; Francisco de Goya y Lucientes, Spanish, 17461828, Don Pedro, Duque de Osuna, c. 1790s, Oil on canvas, The Frick Collection, photo: Michael Bodycomb; Francisco de Goya y Lucientes, Spanish, 17461828, Los Caprichos: The Sleep of Reason Produces Monsters, 1799, Etching, with watercolor, The Norton Simon Foundation; Barbara Hepworth, English, 19031975, Duo, 1973, Marble, Norton Simon Art Foundation, Bowness, Hepworth Estate </p><p>Norton Simon Museum 3 Winter 2014 </p></li><li><p>EVENTS </p><p>Unless otherwise stated, all events are free with Museum admission, no reservations are necessary </p><p>and seating is on a first-come, first-served basis. Admission is $10 for adults, $7 for seniors and FREE </p><p>for members, students with ID and everyone age 18 and under. The first Friday of every month from 6:00 to 9:00 p.m. is FREE for all visitors. For select lectures and performances, stickering for ensured seating starts one hour prior to the event. Members enjoy early seating. </p><p> Degas Through His Own Eyes: Failing Vision and Changing Styles in an Aging Artist Dr. Michael Marmor, Professor of Ophthalmology, Stanford University Saturday, January 25, 4:005:00 p.m. </p><p>Over the last 40 years of his career, Edgar Degass vision became </p><p>progressively blurred, ultimately to the point where he would have been </p><p>declared legally blind. His pastels became rougher, although his blurred </p><p>vision smoothed over these imperfections in his own view. The Museums </p><p>collection of Degas bronzes shows a similar progression of style. The </p><p>famous Little Dancer has wonderful details, but late in Degass life, his sculptures became rougher, and </p><p>the details of face, hair and hands disappeared. Dr. Marmor reviews the problem of failing vision in </p><p>aging artists and poses the question of whether and how it was a factor in their late styles. By simulating </p><p>the defects of vision, Marmor sheds light on just what the artist could and could not see. </p><p>Presented in the Museums theater. </p><p>Dukes, Duchesses and Commoners: The Values of the Hispanic Cultural Tradition in the Art of Francisco de Goya Dr. Marcus B. Burke, Senior Curator, The Hispanic Society of America Saturday, February 1, 4:005:00 p.m. While the Spanish painter Goya is famous as one of the worlds first great </p><p>modern artists, he is equally celebrated as a quintessentially Spanish </p><p>master. Dr. Burke investigates the ways in which the values of Hispanic </p><p>culture are expressed in the visual arts, and how Goya both celebrated and </p><p>criticized these values in his works. </p><p>Presented in the Museums theater. </p><p>LECTURES </p><p>Image credits: Dr. Michael Marmor; Dr. Marcus B. Burke </p><p>Norton Simon Museum 4 Winter 2014 </p></li><li><p>Blancanieves (2012) Directed by Pablo Berger Friday, January 17, 7:008:45 p.m. In conjunction with Unflinching Vision: Goyas Rare Prints, the Museum </p><p>presents Blancanieves, the Best Film winner of the 2013 Goya Awards, </p><p>Spains main national film award. Known in Spain as los Premios Goya, </p><p>the Goya Awards are named after the artist not only because he is a </p><p>notable representative of Spanish culture, but also because his visual </p><p>concept is very close to film. Blancanieves tells the story of the enchanting </p><p>daughter (played by Sofia Oria as a child and Macarena Garca as an adult) </p><p>of a famed matador (Daniel Gimnez Cacho) who flees her wicked </p><p>stepmother (Maribel Verd) to join a band of bullfighting dwarfs in a Spanish take on the Grimm </p><p>Brothers fairy tale Snow White. Upon learning what has become of her despised stepdaughter, the </p><p>diabolical stepmother prepares to administer a punishment that will break the defiant girls will for good. </p><p>Set in Seville in the 1920s, Blancanieves is a tribute to silent films. </p><p>105 min | Rated PG-13 </p><p>Presented in the Museums theater. </p><p>Goya Friday, February 14, 6:009:00 p.m. Join us for a glorious evening looking at one of the worlds most revered artists, Francisco de Goya. The evening begins with an overview by Chief Curator Carol Togneri of the art of Goya in the Norton Simons collections, with a spotlight on Don Pedro, Duque de Osuna, on loan from The Frick Collection. Curator Leah Lehmbeck follows by speaking about the exhibition Unflinching Vision: Goyas Rare Prints, which demonstrates the artists mastery of printmaking and his ability to represent the spirit of his time. Offered throughout the evening are art-making activities that allow artists of all ages to create original works of art. A special wine and tapas menu is available at the caf. </p><p>FILM </p><p>A NIGHT IN FOCUS </p><p>Image credits: Blancanieves Cohen Media Group; Francisco de Goya y Lucientes, Spanish, 17461828, Los Caprichos: Nobody Knows Himself, c. 1799, Etching with burnished aquatint, The Norton Simon Foundation </p><p>Norton Simon Museum 5 Winter 2014 </p></li><li><p>Soundscapes of Spain The Odeum Guitar Duo Friday, February 28, 4:005:00 p.m. </p><p>The music of Spain has been deeply influenced by Moorish melodic </p><p>and rhythmic elements. The light and shade of these musical </p><p>soundscapes are most perfectly represented through the voice of the </p><p>Spanish guitar. Spanish composers often created masterpieces to be </p><p>performed by instruments other than the guitar, but all the while, they </p><p>were trying to evoke the sounds and character of the guitar through </p><p>whatever instrument or combination of instruments they were </p><p>composing for. The Odeum Guitar Duo performs masterworks by Granados, Albniz and other gifted </p><p>Spanish composers who used the guitar as the implied voice and divine inspiration for their music. </p><p>Presented in the Museums theater. </p><p>ADULT DRAWING CLASSES </p><p>Composition at the Norton Simon Museum Study composition with artist Will Weston. Artists use underlying compositional devices to organize </p><p>elements in a painting and make them easier to read. Most of these devices go unnoticed by viewers </p><p>until they are pointed out, explained and practiced. Using the Museums collections, this workshop </p><p>teaches students to see and understand picture composition, and its role in providing mood, </p><p>atmosphere and narrative in paintings. </p><p>Understanding Basic Composition </p><p>Friday, February 28, 6:308:30 p.m. Working in the Museum galleries, the first class addresses essential elements of composition through a </p><p>gallery tour. Afterward, students make marker studies of the basic compositional drivers from paintings </p><p>in the Museums collections. </p><p> The Uses of Italian and Sectional Perspective Friday, March 7, 6:308:30 p.m. Class participants discuss the strength and weaknesses of two </p><p>perspective systems, and how they are used together in picture </p><p>composition. After the lecture and a demonstration, students have </p><p>time to do simple perspective breakdowns from paintings in the </p><p>Museums collections. </p><p>PERFORMANCE </p><p>Image credit: The Odeum Guitar Duo; Giovanni Battista Tiepolo (Italian, 16961770), The Triumph of Virtue and Nobility Over Ignorance, c. 174050, Oil on canvas (Ceiling painted for the Palazzo Manin, Venice), The Norton Simon Foundation </p><p>Norton Simon Museum 6 Winter 2014 </p></li><li><p>Color and Story in Composition Friday, March 21, 6:308:30 p.m. An examination of color strategies in composition and the types of content and narratives that are used </p><p>in picture-making is the focus of this class. Students take a brief tour of the gallery, with discussion of </p><p>the use of color in composition, story structures and additional compositional issues of interest. </p><p>Changing Compositional Strategies in the 19th Century Friday, March 28, 6:308:30 p.m. The final session presents a look at the influence of Japanese prints, the camera and changing social </p><p>structures on 19th-century art. Students complete the course by drawing sketches from the Museums </p><p>collections using what they have learned. </p><p> All levels of experience are welcome. Each class is $20 ($16 for members), and space is limited to 20 participants. All materials and admission to the galleries on the day of class are included. Advance registration is required and can be made at nortonsimon.org/events. </p><p>ART-MAKING WORKSHOP </p><p>Using Contrast for Powerful Charcoal Drawings Sunday, March 2, 11:00 a.m.2:00 p.m. Join artist Jesse Benson for a charcoal-drawing workshop held </p><p>in conjunction with the Museums exhibitions of work by Goya. </p><p>Goyas masterpieces are remarkable studies in the use of </p><p>contrast. In this workshop, participants study contrast shifts in </p><p>Goyas works and explore several charcoal techniques </p><p>designed to use contrast to produce powerful drawings. </p><p>The fee of $30 ($24 for members) includes all materials and admission to the galleries on the day of class. Advance registration is required and can be made at nortonsimon.org/events. </p><p>Join a museum educator on select Sunday afternoons for a dynamic discussion of art. </p><p>Social Conscience: Goya and the 19th Century Sunday, January 12, 1:002:00 p.m. Known as both the last Old Master and the first modern artist, Goya occupies a singular place in the </p><p>history of art. Consider the genius of Goya by examining the brilliance of his paintings and the critical </p><p>nature of his prints. Then discuss how Goya influenced the 19th-century artists by looking at works by </p><p>Courbet and Manet. </p><p>AFTERNOON SALONS </p><p>Image credit: Francisco de Goya y Lucientes, Spanish, 17461828, Los Proverbios - Los Disparates: Where There's a Will There's a Way: A Way of Flying: A Way of Flying, 1864, Etching with aquatint, The Norton Simon Foundation </p><p>Norton Simon Museum 7 Winter...</p></li></ul>